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  2. The integers are the number of pitch to shift for the offset. If chords size parameter is 3, an offset of 1 will keep 2 pitch in common, offset of 2 will keep one pitch etc... (gen-chord2 8 3 '(c4 d4 e4 f4 g4 a4 b4 c5 d5 e5 f5 g5 a5 b5) :offset '(0 1 2 3 0 3 2 1)) => (c4d4e4 d4e4f4 f4g4a4 b4c5d5 b4c5d5 e5f5g5 g5a5b5 a5b5c4) The :offset is the shift into the pitch list but related from chord to chord. Another example for clarity: (gen-chord2 2 3 '(c4 d4 e4 f4 g4 a4 b4 c5 d5 e5 f5 g5 a5 b5) :offset '(1 5)) => (d4e4f4 b4c5d5) SB.
  3. Thanks, Torsten. This is very informative. All the best, Zvony
  4. >> While I can create a canon, counterpoint and a fugue myself with a bit of time, it would be much less time-consuming for me if I were able to use existing examples. Is there an existing library of OMN examples of these types of compositions? > I cannot offer ready-made examples, but a constraint-based library with various counterpoint (and also harmony) rules ready-made. Following up my own comments, some entry level introduction to the libraries Cluster Engine and Cluster rules is offered by a video I prepared for my students last autumn. https://www.youtube.com/watch?v=xPXIRmH9rZc&list=PLmbpscTxjn_DrdDXD5v7z0GzQRNKM5VyQ&index=9 This video uses PWGL instead of Openmusic, but you only need to mentally replace PWGL boxes with Lisp functions of the same name to get pretty much the equivalent Opusmusic code. Also, this tutorial only scratches the surface of what can be done with these libraries, but I hope it can give an initial idea how things are approached in these libraries and for going beyond that a relatively easy approach is simply to study the pre-programmed rules in the Cluster Rules library and trying to combine rules for your own purposes. Once you miss a specific rule you would like to have, the library Cluster Engine provides the tools for defining your own rules on a high level of abstraction (specifically, it provides many abstractions that help to easily apply your rule to a specific score context, like the pitches of simultaneous notes of certain parts). This video is the last of a series of introduction-level videos on algorithmic composition with PWGL... https://www.youtube.com/playlist?list=PLmbpscTxjn_DrdDXD5v7z0GzQRNKM5VyQ
  5. Yesterday
  6. Thanks for a very informative post. Would someone be willing to explain the four integers included in the :offset '(2 1 2 3) parameter from Stephane's reply? It is clear why the parameter is used; I just hope to better understand the purpose of the integer(s) used in order to better control the parameter. Many thanks!
  7. Brilliant. Now my most-used Opusmodus shortcuts also work in Emacs. That helps my workflow a lot! Thanks!! Could you perhaps also share some example of one of the Opusmodus keyboard shortcut definitions (e.g., something like OMN Audition). Then I could hopefully use that to define a shortcut for starting playback with my custom score data structure in Opusmodus. It does not matter if that example definition would be complex and you do not need to provide any user-friendly abstraction. Just some example code would help a lot. Thanks again! Best, Torsten
  8. Last week
  9. Here it is: (sequencer:sequencer-stop *audition-sequencer*) JP
  10. Thanks, but what is the Lisp function, not the shortcut, for stopping playback. I can start playback of the last score with (audition-last-score), how can I stop it Thanks! Best, Torsten
  11. What is the Lisp function for stopping playback (bound to the shortcut cmd-esc)? ... I could never add a custom keyboard shortcut to the Opusmodus text editor Hemlock (and I tried), but I just managed adding keyboard shortcuts and a menu for playing Opusmodus snippets and my polyphonic score format to Emacs (thanks to the fact that scores now can be displayed in a separate window). Only need some key for stopping playback as well. (The main thing I will then miss when using Emacs as the Opusmodus IDE is the close integration of the document, but well, you cannot have everything On the plus side, I have a more stable editor and in particular a very good debugger.) Thanks! Torsten
  12. >> Common Music does not "see" CLM and the interface to it is broken, because CLM is now seemingly defined in another package. > It looks like you don't know how to use CLM in Opusmodus I understand that CLM can be used directly from Opusmodus, but there also exists an interface between Common Music and CLM (I used that already in the 90s...), which is broken in the CLM port to Opusmodus when loading Common Music into it was well. Anyway, I doubt anyone with miss that Best, Torsten
  13. Do you mean as an option for the function length-divide? That would be great, but my preferred solution would be to have some extra function complementing gen-swallow for added notes -- which then could be called within functions like length-divide -- because that would be a generic solution for all sorts of functions that somehow add notes. The slightly tricky bit would perhaps be for the function to notice which are the new notes, so it should likely get as an input both the original material and the material with the added notes to find out... I would be happy to help sketching such a function... One approach might also be if functions adding notes would somehow mark such notes with some custom articulation only used for that purpose, but that would only work for full OMN results, not single parameters (e.g., length-divide supports single length values). An alternative idea would be for functions adding notes to simply specify the positions in the resulting list that they added (with some special notation for nested lists). Anyway, if it would be much more simply to refactor only length-divide and friends, that would be welcome too...
  14. Possible solution to 'fill' the added values: :repeat and :ornament This shouldn't be difficult to implement.
  15. The function LENGTH-DIVIDE and friends are a useful device for introducing some rhythmic variation to some material. However, when the processed sequence is a full OMN expression (see example below), then the added notes cause all other parameters to shift forward (additional parameters are added at the end by looping). For introducing only a slight variation to some existing material (e.g., motif) these functions are therefore not so useful, because this shift of all parameters to basically "fill" the new added notes with pitches etc. greatly change the varied material for a listener. (length-divide 1 2 '(q f3 leg+m1 q ab3 leg e c4 leg bb3 leg ab3 leg g3)) Basically, this is the opposite situation of the situation addressed by swallowing. Swallowing (e.g., with GEN-SWALLOW and the swallow argument of many other functions) avoids the shift of parameters like pitch etc. that would result from removing notes and turning them into rests. For addressing the situation above properly we would need something like the opposite of swallowing, some way to fill in parameters like pitch etc. for new notes to avoid shifting existing notes. I hope my explanation makes sense and you can see why something like the opposite of swallowing would be useful for functions that add notes to some input material. Now, the tricky question is of course, what parameters (pitch etc.) should be added in such cases. Musically useful and common in the classical literature would be, e.g., repeating the parameters (pitch etc.) of the predecessor note (though that might be a bit too simplistic and annoying at times) or somehow interpolating some pitch gap between the previous and next note with a little scale or arpeggio and only repeating the other parameters like articulations (resulting in some variation that is likely most similar to the input material, so it would be good to have that as an option). If the pitch interval between the two original notes is too small to add some pitch in between for the new now (or as an option in general for variety), it would also be good to add some ornamentation (e.g., using PITCH-ORNAMENT), but for a close similarity between the original material and the variation it would be best as an option to apply such ornamentation only to the newly added notes, not all notes. Of course, other options could also be useful for variations that vary the input material a bit more strongly, e.g., some random pitch for the new notes within certain interval bounds. Does some function that kind of is the opposite of GEN-SWALLOW in that it adds parameters like pitches for subdivided rhythmic values (to avoid the shifting) sound like a good idea? The idea with the interpolation of gaps could be implemented by turning the original duration values and pitches into some envelope and then reading that envelope with the new rhythmic values. So, that is rather strait forward. However, that would not allow for some ornamentation, because such algorithm would not recognise which notes are new that should be ornamented. Any other idea perhaps? Thanks!
  16. – Additions:ADD-TEXT-ATTRIBUTS – Optional attribute type: :sticky and :non-sticky– Fixed:Typo error in 'GM Instrument Set.lisp' file. Best wishes, Janusz
  17. Implemented in version 1.3.24912 Example: Attributes with optional :non-sticky type: (add-text-attributes ;; motif start signs '(m1 "m1" :non-sticky) '(m2 "m2" :non-sticky) '(m3 "m3" :non-sticky) ;; strings '(am-steg "am steg") ; sticky '(ruhig "ruhig") ) '(q c4 m1+leg d4 q c4 m1+leg d4)
  18. I Love pieces with Scores !! Thank you and congrats for the music, Stephane ! Sounds great ! Best, Julio
  19. Hi, here's a new piece with score. All the best to all of the Opusmodus users ! S.B. 18/07/19 => Small update, missing function added. PolygonsV1-05-Forum.opmo Polygons1-05.mp3
  20. Earlier
  21. Thanks for coming back. Here is a little demo example snippet. This example shows a very simple motif and its repetition. I would like to annotate some motif label (I will use such labels also for segmenting parts for further processing -- that works fine). (add-text-attributes ;; motif start signs '(m1 "m1") '(m2 "m2") '(m3 "m3") '(m4 "m4") '(m5 "m5") '(m6 "m6") '(m7 "m7") '(m8 "m8") '(m9 "m9") '(m10 "m10") ) '(q c4 m1+leg d4 q c4 m1+leg d4) By contrast, the attribute num1 behaves differently. '(q c4 num1+leg d4 q c4 num1+leg d4) I would like to be able to define custom text-attributes that behave like num1 and friends. Thanks again! (If I am the only one who wants such a feature this does not need to have high priority :)
  22. Could you send me some example (with score) of the problem.
  23. Thank you for coming back. Of course, different approaches and workflows are possible, but these tend to influence what kind of musical results we are getting (e.g., certain approaches and workflows make certain musical results more easy to achieve, and therefore ending up generating these is more likely). Specifically, the functions you mention (and most of the Opusmodus functions in general) are designed for processing the part of a single instrument, and individually generated parts are then almost always combined into a polyphonic score only in a rather late or a final step. Composing in this order (creating individual parts separately and combining them into a score only rather late) is currently easier, because most functions work that way, and most examples are using that approach. Instead, I would prefer to work with polyphonic combinations of multiple parts from early on in the composition process. To state a conventional example, when composing something like a sentence or period theme, I would like to be able to vary and then string together polyphonic phrases. And that is only the lowest hierarchic level, of course such a way of working can be used on higher levels too. Or when creating more complex textures, I might generate them by superimposing multiple phrases that are already polyphonic and for multiple instruments in themselves. As a composer, I find it rather natural to use building blocks that already consist of multiple parts for multiple instruments, and then transform such building blocks in various ways for creating variations. Anyway, I can already do that with my music representation discussed above, I only would find it more convenient to see intermediate results with a mere shortcut. I guess at some stage we might have support for user-defined keyboard shortcuts, and then I can define one for myself for notating and auditioning intermediate results that are polyphonic score representation with explicitly annotated parts. In the meantime, I just explicitly call my function preview-score, not too much of a deal
  24. Some attributes are sticky (they do not need to be repeated to maintain being set, and when they are repeated they are not shown again in the score) -- while others are not. For example, the articulation pizz is sticky, while stacc is not. It seems that add-text-attributes declares only sticky attributes. Is it perhaps possible to also have custom non-sticky attributes? For example, want to annotate certain motif or phrase names, and if I repeat the same motif the text label is not shown again. Just in case this is already possible... Thank you! Best, Torsten
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